Michele Angelini Biography 2015-16.Docx

Total Page:16

File Type:pdf, Size:1020Kb

Michele Angelini Biography 2015-16.Docx MICHELE ANGELINI, Tenor Heralded by the Dallas Morning News as an artist who "displays a voice of silken loveliness as well as graceful agility," Michele Angelini made his European operatic debut at the world famous Rossini Opera Festival in Pesaro as Count Libenskof in Il viaggio a Reims and has been thrilling audiences on leading international stages in the operatic repertoire of Bellini, Donizetti, Handel, Mozart, and Rossini. During the 2015-16 season Michele Angelini sings the title role of Gluck’s Orphée et Eurydice at the Royal Opera House, Covent Garden with Sir John Eliot Gardner and the English Baroque Soloists in a new production co- directed by Hofesh Shechter and by John Fulijames: he also brings the title role on an international concert tour with Sir John Eliot Gardiner leading the Monteverdi Choir and English Baroque Soloists. His acclaimed portrayal of Conte di Almaviva is heard in productions of Il barbiere di Siviglia at opera companies of Seville, Bilbao, and Pittsburgh, and the tenor makes a Glimmerglass Festival debut as Gianetto in a new production of La gazza ladra directed by Peter Kazaras and conducted by Joseph Colaneri. Mr. Angelini made his Covent Garden debut last season in Il barbiere di Siviglia led by Mark Elder and returned as Don Ottavio in Don Giovanni under the baton of Alain Altinoglu. He also has made his Staatsoper im Schiller Theater Berlin debut in Il barbiere di Siviglia and joined the roster of the Metropolitan Opera for Il barbiere di Siviglia and La donna del Lago, where he has been contracted for a principal role debut in a future season. The tenor made his Rheingau Musik Festival debut in performances of Rossini Stabat Mater with Music Director Andrés Orozco-Estrada conducting the Frankfurt Radio Symphony Orchestra. Highlights of recent seasons include Il viaggio a Reims at Maggio Musicale Fiorentino, L'italiana in Algeri at Teatro Comunale di Bologna, Asociación Bilbaína de Amigos de la Ópera, and the Atlanta Opera, Così fan tutte at Teatro dell'Opera di Roma, the world premiere of Benoit Mernier's Frühlings Erwachen at the Théâtre Royal de la Monnaie, Don Giovanni at the Royal Swedish Opera and Savonlinna Opera Festival, La cenerentola at Fort Worth Opera and Opera Colorado, Il turco in Italia at Düsseldorf’s Deutsche Oper am Rhein, La sonnambula at Florida Grand Opera, Il barbiere di Siviglia with the Royal Swedish Opera and New Orleans Opera, the title role of Mozart’s Il sogno di Scipione with Gotham Chamber Opera, and Chabrier's Le Roi Malgré Lui at Bard Summerscape. Metropolitan Opera engagements have included La fille du Régiment (covering Juan Diego Flórez) and Rossini's Armida (covering Lawrence Brownlee). Metropolitan Opera engagements have included La fille du Régiment (covering Juan Diego Flórez) and Rossini's Armida (covering Lawrence Brownlee). Concert work has featured Rossini's Otello with Opera Orchestra of New York and Moïse et Pharaon with The Collegiate Chorale both at Carnegie Hall, Gennaro in Lucrezia Borgia at Bel Canto at Caramoor with the Orchestra of St. Luke’s, Rossini’s Petite Messe Solennelle with the New York Choral Society at Lincoln Center, Handel’s Messiah with the National Symphony Orchestra at the Kennedy Center and at Oslo’s Den Norske Opera. Awards include First Prize in the 2010 Savonlinna Opera Festival International Singing Competition, First Prize in the 2012 Gerda Lissner Foundation Singing Competition, Top Prize winner of the 2013 Opera Index Award, and an Encouragement Award in the memory of Charles Anthony from the George London Foundation. He is a graduate of The Ohio State University with degrees in both Vocal and Bassoon Performance. AUGUST 2015: PLEASE DESTROY PREVIOUSLY DATED MATERIALS For additional information, please contact Étude Arts, LLC www.etudearts.com .
Recommended publications
  • Repertorio (In Grassetto I Brani Più Recenti)
    Repertorio (in grassetto i brani più recenti) Opere Complete A. Vivaldi Gloria RV 589 Magnificat RV 610 C. W. Gluck Orfeo e Euridice W.A. Mozart Missa Brevis KV 220 SpatzenMesse Requiem K626 G. Rossini Petite Messe Solennelle Stabat Mater G. Donizetti Il Campanello L’Elisir d’amore G. Verdi Stabat Mater Nabucco G. Puccini Messa di Gloria P. Mascagni Cavalleria rusticana F. Durante Magnificat in Sib magg. B.Galuppi Magnificat in Sol magg. Pagine di opere di Giuseppe Verdi Aida Marcia trionfale Gran finale II Atto Chi mai fra gli inni Oberto, Conte di San Bonifacio Di vermiglia amabil luce Il Trovatore Chi del Gitano Miserere Or co’ dadi La Forza del Destino La Vergine degli Angeli I Lombardi alla prima crociata O Signore dal tetto natio Finale (Te lodiamo) La Traviata Libiamo ne’ lieti calici Si ridesta in ciel l’aurora Zingarelle e mattadori Ne appellaste? … Finale II Atto Falstaff La selva dorme Otello Fuoco di gioia Chi dell’esca ha morso Ernani Evviva, beviam Si ridesti il leon di Castiglia I due Foscari Tace il vento, è queta l’onda Ernani O sommo Carlo Don Carlo Spuntato ecco il dì (coro dell’Autodafè) Macbeth Coro delle streghe – Che faceste? Finale atto primo Coro dei sicari Brindisi Coro streghe – Tre volte miagola Patria oppressa Inno di vittoria finale Pagine di opere di Gioacchino Rossini Stabat Mater Stabat Mater Dolorosa Inflammatus Petite Messe Solennelle Kyrie Agnus Dei Mosè in Egitto Coro delle tenebre Invocazione e Quintetto Voci di giubilo Dal tuo stellato soglio Aureliano in Palmira Sposa del grande Osiride Elisabetta, regina d’Inghilterra Quanto è grato all’alma mia La donna del lago Del dì la messaggera L’assedio di Corinto Giusto ciel in tal periglio Guglielmo Tell Finale Semiramide Bel raggio lusinghier Pagine d’opera di Altri Autori A.
    [Show full text]
  • Voice Types in Opera
    Voice Types in Opera In many of Central City Opera’s educational programs, we spend some time explaining the different voice types – and therefore character types – in opera. Usually in opera, a voice type (soprano, mezzo soprano, tenor, baritone, or bass) has as much to do with the SOUND as with the CHARACTER that the singer portrays. Composers will assign different voice types to characters so that there is a wide variety of vocal colors onstage to give the audience more information about the characters in the story. SOPRANO: “Sopranos get to be the heroine or the princess or the opera star.” – Eureka Street* “Sopranos always get to play the smart, sophisticated, sweet and supreme characters!” – The Great Opera Mix-up* A soprano is a woman’s voice type. There are many different kinds of sopranos within the general category: coloratura, lyric, and spinto are a few. Coloratura soprano: Diana Damrau as The Queen of the Night in The Magic Flute (Mozart): https://youtu.be/dpVV9jShEzU Lyric soprano: Mirella Freni as Mimi in La bohème (Puccini): https://youtu.be/yTagFD_pkNo Spinto soprano: Leontyne Price as Aida in Aida (Verdi): https://youtu.be/IaV6sqFUTQ4?t=1m10s MEZZO SOPRANO: “There are also mezzos with a lower, more exciting woman’s voice…We get to be magical or mythical characters and sometimes… we get to be boys.” – Eureka Street “Mezzos play magnificent, magical, mysterious, and miffed characters.” – The Great Opera Mix-up A mezzo soprano is a woman’s voice type. Just like with sopranos, there are different kinds of mezzo sopranos: coloratura, lyric, and dramatic.
    [Show full text]
  • Emily Grace Righter
    EMILY GRACE RIGHTER, Mezzo Soprano Opera: Carmen Carmen Music Hall, Belgium 2018 Le Nozze di Figaro Cherubino Opera Tampa 2018 Carmen Carmen Prelude to Performance 2017 La Cenerentola Angelina Opera Tampa 2017 La Clemenza di Tito Annio Salzburg Landestheater 2014 Eugene Onegin Olga Salzburg Landestheater 2014 Pilgrims from Mecca Dardané Salzburg Landestheater 2014 La Cage aux Folles Jacqueline Salzburg Landestheater 2014 La Cage aux Folles (in german) Jacqueline Salzburg Landestheater 2014 Sound of Music (in german) Sophia Salzburg Landestheater 2014 Mosè in Egitto Amenofi New York City Opera 2013 Eliogabalo Alessandro Gotham Chamber Opera 2013 Il Trovatore Ines Tyroler Festspielhaus 2013 La Traviata Flora Tyroler Festspielhaus 2013 Rigoletto Maddalena Tyroler Festspielhaus 2013 Le Nozze di Figaro Cherubino Tyroler Festspielhaus 2012 Turn of the Screw Ms. Jessel Festival dei Due Mondi 2012 Imeneo Clomiri Salzburg Landestheater 2012 La Cenerentola Tisbe/Angelina Salzburg Landestheater 2012 La Traviata Flora Salzburg Landestheater 2012 Wozzeck Margret Salzburg Landestheater 2012 Romeo et Juliette Stephano Bel Cantanti Opera 2011 Mosè in Egitto Amenofi Chicago Opera Theater 2010 Romeo et Juliette Stephano (cover) Salzburger Festspielhaus 2010 Cendrillon (Apprentice Scenes) Prince Charmant Santa Fe Opera 2009 The Magic Flute Second Lady Yale Opera 2009 The Bear Yelena Yale Opera 2009 I Capuleti e i Montecchi Romeo Glimmerglass Opera 2008 Otello Emilia Vero Beach Opera 2008 Die Fledermaus Prince Orlofsky Yale Opera 2008 L'heure espagnole Concepcion Yale Opera 2008 Alcina Ruggiero Carnegie Mellon Univ. 2007 Concerts: Visions of the Modern Muse Guest Soloist Carnegie Hall 2016 Verdi's Requiem Mezzo Soprano Amici Opera 2016 Stabat Mater (Rossini) Mezzo Soprano St.
    [Show full text]
  • Lawrence Brownlee Classes and Repertoire
    Statement of Acknowledgement of Traditional Land: We wish to acknowledge this land on which the University of Toronto operates. For thousands of years it has been the traditional land of the Huron- Wendat, the Seneca, and most recently, the Mississaugas of the Credit River. Today, this meeting place is still the home to many Indigenous people from across Turtle Island and we are grateful to have the opportunity to work on this land. The John R. Stratton Visitor in Music - Lawrence Brownlee, Tenor October 6, 2020 12:00pm - 2:30pm Named for a great collector of vocal music and historical recorded sound, the Stratton Visitor brings distinguished specialists in the field of voice, opera and collaborative piano to the Faculty of Music. This year we are delighted to welcome acclaimed tenor, Lawrence Brownlee who has been hailed as “an international star in the bel canto operatic repertory” (The New York Times), “one of the world’s leading bel canto stars” (The Guardian), and “one of the most in-demand opera singers in the world today” (NPR). Brownlee was named 2017 “Male Singer of the Year” by the International Opera Awards, and also serves as Artistic Advisor at Opera Philadelphia, helping the company to expand their repertoire, diversity efforts and community initiatives. This is the first of three master classes to concentrate on Art Song, Opera and Bel Canto featuring singers from our graduate and undergraduate Voice programs and pianists from our graduate program in Collaborative Piano. Art Song Master Class Morgan Reid, soprano Let the Florid Music Praise Benjamin Britten Vladimir Soloviev, piano (On this Island) Lissy Meyerowitz, mezzo-soprano La chevelure Claude Debussy Dakota Scott-Digout, piano (Trois chansons de Bilitis) Leandra Dahm, soprano St.
    [Show full text]
  • DIE LIEBE DER DANAE July 29 – August 7, 2011
    DIE LIEBE DER DANAE July 29 – August 7, 2011 the richard b. fisher center for the performing arts at bard college About The Richard B. Fisher Center for the Performing Arts at Bard College The Richard B. Fisher Center for the Performing Arts, an environment for world-class artistic presentation in the Hudson Valley, was designed by Frank Gehry and opened in 2003. Risk-taking performances and provocative programs take place in the 800-seat Sosnoff Theater, a proscenium-arch space; and in the 220-seat Theater Two, which features a flexible seating configuration. The Center is home to Bard College’s Theater and Dance Programs, and host to two annual summer festivals: SummerScape, which offers opera, dance, theater, operetta, film, and cabaret; and the Bard Music Festival, which celebrates its 22nd year in August, with “Sibelius and His World.” The Center bears the name of the late Richard B. Fisher, the former chair of Bard College’s Board of Trustees. This magnificent building is a tribute to his vision and leadership. The outstanding arts events that take place here would not be possible without the contributions made by the Friends of the Fisher Center. We are grateful for their support and welcome all donations. ©2011 Bard College. All rights reserved. Cover Danae and the Shower of Gold (krater detail), ca. 430 bce. Réunion des Musées Nationaux/Art Resource, NY. Inside Back Cover ©Peter Aaron ’68/Esto The Richard B. Fisher Center for the Performing Arts at Bard College Chair Jeanne Donovan Fisher President Leon Botstein Honorary Patron Martti Ahtisaari, Nobel Peace Prize laureate and former president of Finland Die Liebe der Danae (The Love of Danae) Music by Richard Strauss Libretto by Joseph Gregor, after a scenario by Hugo von Hofmannsthal Directed by Kevin Newbury American Symphony Orchestra Conducted by Leon Botstein, Music Director Set Design by Rafael Viñoly and Mimi Lien Choreography by Ken Roht Costume Design by Jessica Jahn Lighting Design by D.
    [Show full text]
  • La Donna Del Lago , the Met's First Production of the Bel Canto Showcase, on Great Performances at the Met
    Press Contacts: Harry Forbes, WNET 212-560-8027 or [email protected] Eva Chien 212-870-4589 or [email protected] Press materials: http://pressroom.pbs.org or http://www.thirteen.org/13pressroom Website: http://www.pbs.org/wnet/gperf Facebook: http://www.facebook.com/GreatPerformances Twitter: @GPerfPBS Joyce DiDonato and Juan Diego Flórez Star In Rossini's La Donna del Lago , the Met's First Production of the Bel Canto Showcase, on Great Performances at the Met Sunday, August 2 at 12 p.m. on PBS Joyce DiDonato and Juan Diego Flórez headline Rossini's bel canto tour-de-force La Donna del Lago on THIRTEEN’S Great Performances at the Met Sunday, August 2 at 12 p.m. on PBS. (Check local listings.) In this Rossini classic based on the work by Sir Walter Scott, DiDonato sings the title role of Elena, the lady of the lake pursued by two men, with Flórez in the role of Giacomo, the benevolent king of Scotland. Michele Mariotti , last featured in the Great Performance at the Met broadcast of Rigoletto , conducts debuting Scottish director Paul Curran's staging, a co-production with Santa Fe Opera. The cast also includes Daniela Barcellona in the trouser role of Malcolm, John Osborn as Rodrigo, and Oren Gradus as Duglas. "The wondrous Ms. DiDonato and Mr. Mariotti, the fast-rising young Italian conductor, seemed almost in competition to see who could make music with more delicacy,” noted The New York Times earlier this year, and “Mr. Mariotti drew hushed gentle and transparent playing from the inspired Met orchestra.” And NY Classical Review raved, "Joyce DiDonato…was beyond perfect..
    [Show full text]
  • Charlie Parker's YARDBIRD Music by Daniel Schnyder Libretto By
    Charlie Parker’s YARDBIRD Music by Daniel Schnyder Libretto by Bridgette A. Wimberly Performed in English with English supertitles NEW YORK PREMIERE A co-production of the Apollo Theater and Opera Philadelphia April 1 and 3, 2016 The Apollo Theater PHOTOGRAPHS BY SOFIA NEGRON IMAGE 1: Tenor Lawrence Brownlee stars as Charlie Parker in the New York premiere of Charlie Parker’s YARDBIRD. IMAGES 2-3: Lawrence Brownlee as Charlie Parker, with soprano Angela Brown as his mother, Addie. IMAGE 4: Tenor Lawrence Brownlee stars as Charlie Parker in the New York premiere of Charlie Parker’s YARDBIRD. IMAGE 5: Mezzo-soprano Chrystal E. Williams as Rebecca Parker, Charlie’s first wife, with Angela Brown as Addie Parker. IMAGE 6: Doris Parker (soprano Elena Perroni), Charlie’s second wife in the opera, visits Charlie (Lawrence Brownlee). IMAGES 7-8: Dizzy Gillespie (baritone Will Liverman) and Charlie (Lawrence Brownlee) reminisce about the bebop revolution that changed the world. IMAGES 9-10: Chan Parker (soprano Emily Pogorelc), Charlie’s third wife in the opera, meets Dizzy (baritone Will Liverman) and Charlie (tenor Lawrence Brownlee) at Birdland. IMAGE 11: Dizzy Gillespie (baritone Will Liverman). IMAGE 12: Charlie Parker (tenor Lawrence Brownlee) IMAGE 13: Addie Parker (soprano Angela Brown) sings “My Boy.” IMAGE 14: The opera dramatizes Charlie’s (tenor Lawrence Brownlee, center) stay in the Camarillo mental hospital in California. IMAGES 15-16: Charlie (tenor Lawrence Brownlee) sings of his one true love, his saxophone. IMAGE 17: Addie (soprano Angela Brown) insists she will bury Charlie in Kansas City, not New York. IMAGE 18: Baroness Pannonica “Nica” de Koenigswarter (mezzo Tamara Mumford), in whose apartment Charlie died on March 12, 1955.
    [Show full text]
  • [STENDHAL]. — Joachim Rossini , Von MARIA OTTINGUER, Leipzig 1852
    REVUE DES DEUX MONDES , 15th May 1854, pp. 731-757. Vie de Rossini , par M. BEYLE [STENDHAL]. — Joachim Rossini , von MARIA OTTINGUER, Leipzig 1852. SECONDE PÉRIODE ITALIENNE. — D’OTELLO A SEMIRAMIDE. IV. — CENERENTOLA ET CENDRILLON. — UN PAMPHLET DE WEBER. — LA GAZZA LADRA. — MOSÈ [MOSÈ IN EGITTO]. On sait que Rossini avait exigé cinq cents ducats pour prix de la partition d’Otello (1). Quel ne fut point l’étonnement du maestro lorsque le lendemain de la première représentation de son ouvrage il reçut du secrétaire de Barbaja [Barbaia] une lettre qui l’avisait qu’on venait de mettre à sa disposition le double de cette somme! Rossini courut aussitôt chez la Colbrand [Colbran], qui, pour première preuve de son amour, lui demanda ce jour-là de quitter Naples à l’instant même. — Barbaja [Barbaia] nous observe, ajouta-t-elle, et commence à s’apercevoir que vous m’êtes moins indifférent que je ne voudrais le lui faire croire ; les mauvaises langues chuchotent : il est donc grand temps de détourner les soupçons et de nous séparer. Rossini prit la chose en philosophe, et se rappelant à cette occasion que le directeur du théâtre Valle le tourmentait pour avoir un opéra, il partit pour Rome, où d’ailleurs il ne fit cette fois qu’une rapide apparition. Composer la Cenerentola fut pour lui l’affaire de dix-huit jours, et le public romain, qui d’abord avait montré de l’hésitation à l’endroit de la musique du Barbier [Il Barbiere di Siviglia ], goûta sans réserve, dès la première épreuve, cet opéra, d’une gaieté plus vivante, plus // 732 // ronde, plus communicative, mais aussi trop dépourvue de cet idéal que Cimarosa mêle à ses plus franches bouffonneries.
    [Show full text]
  • Signumclassics
    170booklet 6/8/09 15:21 Page 1 ALSO AVAILABLE on signumclassics Spanish Heroines Silvia Tro Santafé Orquesta Sinfónica de Navarra Julian Reynolds conductor SIGCD152 Since her American debut in the early nineties, Silvia Tro Santafé has become one of the most sought after coloratura mezzos of her generation. On this disc we hear the proof of her operatic talents, performing some of the greatest and most passionate arias of any operatic mezzo soprano. Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 170booklet 6/8/09 15:21 Page 3 Rossini Mezzo Rossini Mezzo gratitude, the composer wrote starring roles for her in five of his early operas, all but one of them If it were not for the operas of Gioachino Rossini, comedies. The first was the wickedly funny Cavatina (Isabella e Coro, L’Italiana in Algeri) the repertory for the mezzo soprano would be far L’equivoco stravagante premiered in Bologna in 1. Cruda sorte! Amor tiranno! [4.26] less interesting. Opera is often thought of as 1811. Its libretto really reverses the definition of following generic lines and the basic opera plot opera quotes above. In this opera, the tenor stops Coro, Recitativo e Rondò (Isabella, L’Italiana in Algeri) has been described as “the tenor wants to marry the baritone from marrying the mezzo and does it 2. Pronti abbiamo e ferri e mani (Coro), Amici, in ogni evento ... (Isabella) [2.45] the soprano and bass tries to stop them”. by telling him that she is a castrato singer in drag.
    [Show full text]
  • Download Booklet
    CHAN 10190 Front.qxd 31/1/07 10:41 am Page 1 CHAN 10190 CHANDOS CHAN 10190 BOOK.qxd 31/1/07 10:54 am Page 2 Gioachino Antonio Rossini (1792 – 1868) Complete Piano Edition, Volume 1 premiere recordings Unpublished Works 1 Valzer in mi bemolle maggiore (Firenze, 1 ottobre 1849) 2:13 in E flat major • in Es-Dur • en mi bémol majeur 2 Thème 2:59 Lebrecht Collection Lebrecht in E flat major • in Es-Dur • en mi bémol majeur • en mi bemolle maggiore 3 Allegretto 0:31 4 Scherzo in la minore (Firenze, 28 luglio 1850) 3:44 in A minor • in a-Moll • en la mineur 5 Un rien (Passy, 1861) 0:47 Andantino From Péchés de vieillesse, Book 3 ‘Morceaux réservés’ 9:19 5 Gammes – des montées et des descentes (rising and falling scales) Deux gammes chinoises, suivies d’une mélodie analogue (Chinese scales followed by a corresponding melody) 6 A. Première montée et descente (montée) 0:47 7 A. Première montée et descente (descente) 1:27 8 B. Deuxième montée et descente (montée) 0:32 9 B. Deuxième montée et descente (descente) 0:42 10 C. Première gamme chinoise, montante et descendante 0:49 Gioachino Antonio Rossini 11 D. Deuxième gamme chinoise, montante et descendante 0:43 12 E. L’Amour à Pékin (Mon cœur blessé): petite mélodie sur la gamme chinoise (Love in Peking [My wounded heart]: little melody on the Chinese scale) 4:00 in A major • in A-Dur • en la majeur • in la maggiore Marina De Liso contralto 3 CHAN 10190 BOOK.qxd 31/1/07 10:54 am Page 4 Rossini: Complete Piano Edition, Volume 1 From Péchés de vieillesse, Book 9 ‘Album pour piano, Enigmatic and problematic, Rossini’s piano which Rossini kept his ‘péchés de vieillesse’ violon, violoncelle, harmonium et cor’ 54:39 music requires significantly more than the (sins of old age) reopened, it is perhaps the 13 1 Mélodie candide, QR xvi/67-73 4:06 cursory glance at the black dots on the page very place we should look to solve the many in A major • in A-Dur • en la majeur • in la maggiore often used by pianists to judge a work’s mysteries of the composer’s personality.
    [Show full text]
  • Gioachino Rossini the Journey to Rheims Ottavio Dantone
    _____________________________________________________________ GIOACHINO ROSSINI THE JOURNEY TO RHEIMS OTTAVIO DANTONE TEATRO ALLA SCALA www.musicom.it THE JOURNEY TO RHEIMS ________________________________________________________________________________ LISTENING GUIDE Philip Gossett We know practically nothing about the events that led to the composition of Il viaggio a Reims, the first and only Italian opera Rossini wrote for Paris. It was a celebratory work, first performed on 19 June 1825, honoring the coronation of Charles X, who had been crowned King of France at the Cathedral of Rheims on 29 May 1825. After the King returned to Paris, his coronation was celebrated in many Parisian theaters, among them the Théâtre Italien. The event offered Rossini a splendid occasion to present himself to the Paris that mattered, especially the political establishment. He had served as the director of the Théatre Italien from November 1824, but thus far he had only reproduced operas originally written for Italian stages, often with new music composed for Paris. For the coronation opera, however, it proved important that the Théâtre Italien had been annexed by the Académie Royale de Musique already in 1818. Rossini therefore had at his disposition the finest instrumentalists in Paris. He took advantage of this opportunity and wrote his opera with those musicians in mind. He also drew on the entire company of the Théâtre Italien, so that he could produce an opera with a large number of remarkable solo parts (ten major roles and another eight minor ones). Plans for multitudinous celebrations for the coronation of Charles X were established by the municipal council of Paris in a decree of 7 February 1825.
    [Show full text]
  • The Italian Girl in Algiers
    Opera Box Teacher’s Guide table of contents Welcome Letter . .1 Lesson Plan Unit Overview and Academic Standards . .2 Opera Box Content Checklist . .8 Reference/Tracking Guide . .9 Lesson Plans . .11 Synopsis and Musical Excerpts . .32 Flow Charts . .38 Gioachino Rossini – a biography .............................45 Catalogue of Rossini’s Operas . .47 2 0 0 7 – 2 0 0 8 S E A S O N Background Notes . .50 World Events in 1813 ....................................55 History of Opera ........................................56 History of Minnesota Opera, Repertoire . .67 GIUSEPPE VERDI SEPTEMBER 22 – 30, 2007 The Standard Repertory ...................................71 Elements of Opera .......................................72 Glossary of Opera Terms ..................................76 GIOACHINO ROSSINI Glossary of Musical Terms .................................82 NOVEMBER 10 – 18, 2007 Bibliography, Discography, Videography . .85 Word Search, Crossword Puzzle . .88 Evaluation . .91 Acknowledgements . .92 CHARLES GOUNOD JANUARY 26 –FEBRUARY 2, 2008 REINHARD KEISER MARCH 1 – 9, 2008 mnopera.org ANTONÍN DVOˇRÁK APRIL 12 – 20, 2008 FOR SEASON TICKETS, CALL 612.333.6669 The Italian Girl in Algiers Opera Box Lesson Plan Title Page with Related Academic Standards lesson title minnesota academic national standards standards: arts k–12 for music education 1 – Rossini – “I was born for opera buffa.” Music 9.1.1.3.1 8, 9 Music 9.1.1.3.2 Theater 9.1.1.4.2 Music 9.4.1.3.1 Music 9.4.1.3.2 Theater 9.4.1.4.1 Theater 9.4.1.4.2 2 – Rossini Opera Terms Music
    [Show full text]